From Zero

Nothing revolutionary about From Zero, then. But certainly a re-energised return to business for a band that has been sorely missed.

Sure, not every song is something to write home about, and not everyone is going to be on board with a new singer, but as a piece of work, it’s a clear reminder of why Linkin Park reached the heights they did and continue to influence multiple generations of artists. Welcome back.

They were always unafraid to take sonic risks, and another sonic risk is exactly what their comeback constitutes – one that has handsomely paid off.

In playing predominantly with familiar sounds, From Zero feels less like a step forward for Linkin Park than a rallying point to bring the band back from the brink. But in that, the album is nothing short of a triumph; measuring their angst and leaning on the communal heart that's always existed in their songs, Linkin Park have saved themselves to fight another day. [Jan 2025, p.78]

From Zero is a decent effort that contains all the band's hallmarks, even if it's not the exact same Linkin Park that is known and loved.

Three safe, heavyweight singles are backed up by a confusingly hit-and-miss album.

From Zero is a tale of two halves. The first half feels like pandering to what people miss from Linkin Park. .... However, by the time “Overflow” rolls around, a switch flips. Though it’s more of a Shinoda track, it sets the stage for a strong second half, with its dark and captivating atmosphere and simplistic instrumentation that makes it a powerful standout. From this point on, From Zero maintains momentum.

Serving as the throat-shredding yin to Shinoda’s straight-man rapping yang, Armstrong’s vocal range is a bit limited, but she largely sticks to her strengths, welcomingly counteracting some of the band’s worst tendencies (for one, she helps resuscitate the drony “Overflow”). But it’s a pity that she’s essentially reduced to engaging in what mostly feels like Linkin Park karaoke.